Nicolas Cage's Religious Horror Movie Is Less Extreme Than Expected

Nicolas Cage may be the optimal choice for a audacious scary movie focused on the biblical figure, however not for the reasons some viewers might assume. Actually, Cage doesn't actually play the central religious figure in the new film: his role is listed only as The Carpenter. Cage is positioned as the Joseph of this tale, attempting to keep his faith as the teenage character (portrayed by the young actor), their now-teenage adopted son, commences to display divine powers. The explanation it’s difficult to imagine another leading star taking this character is that although the role becomes stricken with numerous difficulties, the actor appears almost emotionally convinced that this gloomy, somber little movie is worth his time.

Cage's Recent Film Selections

Cage was spending those years more selectively in recent years. He continues to makes more movies than most average viewers will ever see — for example, did you know that he has made three separate Westerns over the last few years? — however he also includes high-profile critically acclaimed roles like Dream Scenario, another notable movie, and Longlegs. The Carpenter’s Son sounds like one of those, because it’s genre-adjacent, possibly controversial, and takes a over-the-top description quite seriously.

Movie's Plot and Execution

Regrettably, filmmaker the director fails to repay that serious attention. The film opens in a interestingly wandering setting, presented as inspired by an obscure religious text concerning the early years of Jesus. The Carpenter, the maternal figure, and the boy relocate frequently, fearful of faith-based hostility or distrust over The Boy’s strange powers. “Disaster trails us,” The Carpenter gloomily remarks. It goes on as dark forces attack the family at their new home, getting a jump-start with that traditional religious challenge for the son.

At times, the movie echoes an demonic possession-type possession movie, except that not one of the central roles are directly possessed. Rather, they grow increasingly alienated from each other, as these powers influence a local young woman (Isla Johnston, named “The Stranger”) who the son forms a relationship with, and gives everyone disturbing images of a grim future. The Carpenter in particular struggles with his role within the plot, sometimes chastising the boy who mystifies him.

Debate and Care

The subject matter is likely to stir disagreement, and Nathan handles it with plenty of care — too much, perhaps. The concept of a teenage boy confronted with his future martyrdom and tempted by dark influences is certainly terrifying, but the filmmaker may be cautious about appearing sensational and anxious to telegraph his goals, thus he frequently withdraws to dimly foreboding visuals. The roles constantly ponder — FKA Twigs, who demonstrated genuine potential in the 2024 Crow remake, interestingly — cedes her performance to her Mother Mary cloak, sometimes broken up by several gruesome scary visuals.

Cage's Portrayal and Film's Weaknesses

Simultaneously, Cage toy with just the sort of melodramatic acting that those who enjoy his campier roles may desire. There is a moment (shown) in the trailer where Cage flips out and shouts “I’ve lost my faith!” Should such of theatrical release is part of a biblical thriller, maybe a more boldly ridiculous style would make better use of Cage’s willingness to exaggerate as required. Instead, the film echoes the poorer straight-to-DVD films Cage made over the last decade — not the cheesy thrillers so much as the serious stories and supernatural thrillers that often seem intriguing, and often contain some select Cage moments, but in the end seem like, indeed, cheap home video fare.

Truthfully, some of those, though not as grand, were easier to view in general. At this point I have to break my usual practice, not spiritual but professional: Previously, a beloved editor convinced me to eliminate adjectives like “tedious” or “uninteresting” from my film-criticism vocabulary. These phrases express scant but a individual and vaguely expressed lack of patience, disengaging from the job of clearly expressing the mental and emotional experience of seeing a specific film. It's challenging to convey boredom without sounding boring yourself. It’s no more expressive as labeling a movie “interesting.” “Say more,” essentially.

But I must confess, I felt uninterested throughout the film. In its defense, it is a religious style of stultification, not because The Carpenter’s Son is preachy, but since it requires a kind of obedient endurance to watch it. Eventually in the beginning, the film locks into a repetitive rhythm of simmering distress, and never really